Study On Nandan In The Book The History Of Yenching Liyuan In The Qing Dynast(Compilation)

Nandan is a term for male opera artists who disguise as women,and sing female voice in the traditional Chinese opera.In the Qing Dynasty,the Chinese opera performance in Yenching was very prosperous.Especially in the middle and late stage of Qing Dynasty,there was a nationwide upsurge of watching Chinese opera " From aristocrats to civilians,they all like to enjoy Chinese opera performances." At this time,the Nandan of Chinese opera also ushered in the climax of development,Theatres such as theatres and teahouses are almost exclusively Nanda actors.In addition,the two-way ban on female musicians and the Yueji system makes it a taboo for female musicians to perform openly on the stage of opera.The important position of Nandan actors is becoming more and more obvious,and the number Chinese actors is increasing,which has become the core role of the stage performances of Chinese operas at that time.Corresponding with the popularity of Nandan actors in traditional Chinese opera,the literati turned to appreciate and associate with Nandan performers and put their elegant appearances and anecdotes into work,bringing the writing of Liyuan Huapu to a climax and forming a grand occasion of “New chapter comes every year”.This kind of scene lasted for the whole middle and late Qing Dynasty in Beijing until the Republic of China,the collection of Huapu in the Qing Dynasty almost disappeared because of its special textual feature,the declining status of opera and the humble identities of Nandan players.However,the writing,publication,reading and circulation of Huapu in the Qing Dynasty are related to many aspects of the opera ecology,and they are valuable materials for the study of the Nandan of the Qing Dynasty in Yenching.Now the academic circles have gradually realized the literary,historical,and customary value of Qing Dynasty Liyuan Huapu,and have paid attention to cross-research achievements of different disciplines from different angles.However,the special research on Yenching Nandan in the middle and late Qing Dynasty is still limited at present,which shows that the musicology value of historical data in Huapu is still worth exploring.Therefore it is necessary to carry on a deep and systematical reorganization and research on bibliography about Nandan actors.This paper takes the historical materials of Huapu in Historical Materials of Yenching Liyuan in Qing Dynasty(the original and continuation book)compiled by Zhang Cixi as the point of penetration,mainly discusses the development of Nandan musician group in the middle and late stage of Qing Dynasty,focusing on the background of social and cultural development in Beijing after the middle and late stage of Qing Dynasty,and analyses a series of changes in status,business mode,income level and social impact of Nadan musician group after the disintegration of the Yueji system,from the perspective of social and cultural history,this paper attempts to explore the cultural connotation and characteristics behind the phenomenon of Nandan art in the middle and late stage of Qing Dynasty.